Skipping forward to "Bud in Alphaville", the trio starts an uptempo, bluesy vamp that sounds like an update to "Blue Monk". That is, until the chaos takes over (and I mean that in the best possible way!)
Park's bass takes center stage on the sensitive "Charcoal Flowers". The initial plaintive piano chords are supported by deep bass notes before Parker shifts over to the bow. The variety of sounds produced a bowed bass is amazing: whispers, growls, whimpers, cries. So much emotion.
My opening rant on the hegemony of modern electronics shouldn't be taken as an indictment of their use in music. Let's face it, Parker himself has made some fine music that is absolutely chocked full of wiggling electrons (especially with cohort Matthew Shipp.) It's just that sometimes it feels right to go back to the source. It's the place where communication via music remains unmediated.
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